Blake Lewis' 'Audio Day Dream' is a wealth of styles

By GENE STOUT, P-I POP MUSIC CRITIC

Updated 10:00 pm, Sunday, December 2, 2007

"American Idol" Blake Lewis and American composer Irving Berlin (who wrote "White Christmas," "There's No Business Like Show Business" and "God Bless America") usually aren't mentioned in the same sentence.

But Lewis' highly anticipated debut album, "Audio Day Dream," which Arista Records releases Tuesday on its 19 Recordings label, features the high-flying, guitar- and horn-driven "Gots To Get Her," a song inspired by the Irving Berlin classic "Puttin' on the Ritz."

Lewis, the 26-year-old Redmond native who was a finalist on the sixth season of "American Idol," got permission from Berlin's publishing company to write his own lyrics and add verses. Lewis, the talented beatboxer also known as Bshorty, describes the song as "a roller coaster ride through some Latin-style, old-school jazz."

"I'm the first person in history to change the lyrics to 'Puttin' on the Ritz' and make it my own song," Lewis said in a recent interview from Hollywood, where he was doing interviews and preparing for the release of "Audio Day Dream."

The album's debut single, "Break Anotha," was recorded at Seattle's London Bridge Studio. He's in good company: Soundgarden, Alice in Chains and Pearl Jam also have recorded albums there. Other songs were recorded in New York and Los Angeles. In a novel marketing twist, a stream of "Break Anotha" was released directly to fans by phone via the new social networking service SayNow on the same day it was released to radio.

"Audio Day Dream" (ADD) offers a whirlwind of styles: hip-hop, rock, pop, funk, soul and R&B, with an abundance of special effects. Lewis compares the amalgam of retro styles to a 1980s mix tape. He came up with the album's dramatic cover design of his face and profile, as well as a mini-poster inside that shows him surfing through a surreal, mountainous landscape.

Attention deficit disorder is an intentional motif in the album. "People thought I had ADD growing up," Lewis remembers.

He grew up in Bothell and Kenmore. Long before he became a star on "American Idol," he was playing at such Fremont clubs as ToST and Nectar Lounge. The record label isn't paying for a Seattle release party, so Lewis will try to put together his own show in the next week or two at one of his favorite clubs.

In the meantime, Lewis will join the lineup for the KISS 106.1 FM Jingle Bell Bash Tuesday at the Tacoma Dome (he also co-hosts a pre-concert show with Marcus D airing at 2 p.m.). Jingle Bell Bash features the Jonas Brothers, Timbaland (with special guests Keri Hilson, OneRepublic and Sebastian), Sean Kingston, Colbie Caillat and Ehpikh.

Over the phone, the personable, well-mannered beatboxer who calls Seattle home was passionate about his music and career -- and about the local music scene that supported him before "American Idol."

P-I: "Audio Day Dream" seems to be loaded with potential hits, from ballads to hip-hop songs. Are your expectations high?

Lewis: "I got to make the album I've always wanted. That's huge. I set high goals for myself. I don't tell anyone what they are. I'll tell them once I've reached them. I've done that my whole entire life. I put myself out in the universe, I put myself out there in a positive way."

After "Break Anotha," how will you decide which songs to release as singles?

"I definitely want singles that best represent me. I'm not going to say which one, but there's a song that I didn't necessarily want on the record. But I know the label people love it, and you have to deal with the corporate stuff at a major label."

Fellow "American Idol" Kelly Clarkson ran into trouble last summer when she refused label head Davis' offer of $10 million to delete five tracks and replace them with songs he would handpick. Did Davis ask for any changes on your album?

"On one song, he said, 'You should change this bridge because it doesn't sound like you.' He was right on a lot of things. And we compromised on a couple of things, but that's about it. He really didn't touch the record. He was just so into it. Which is huge because my whole dream was to be signed by Clive Davis, so I wasn't going to mess that up."

You recorded at studios in Seattle, New York and L.A. How many altogether?

"Oh, gosh, I couldn't tell you. For this album alone, I probably recorded in 20 different studios."

Why so many?

"I didn't want to do this album with just one producer. I'm so influenced by different people. And I wanted to get the best people. I worked with BT (a revered "trance" composer who has worked with the likes of Britney Spears, Tori Amos and David Bowie) on two tracks. He's one of my main inspirations ever. And the fact he came to me, to work with me, without knowing that I was even on 'American Idol' is amazing. He knew me as Bshorty. He got my number from a mutual friend."

"Gots To Get Her," inspired by the Irving Berlin song, gives new life to a tune that fans in their teens and 20s may not be familiar with.

"It's a fun track. I was very honored that the Berlin family let me do it. People have recorded the song so many times, but no one has changed the words. We don't get the publishing rights, but we got to have this piece of music on this record, which was huge to us. We put our egos aside."

Have you noticed increased interest in beatboxing since "American Idol"?

"I think so, with my fans at least. I see 5-year-olds with their moms and dads coming up to show me what they can do. It's awesome because they know what it is now. I think in the next 10 years you're going to see an increase in younger people who are killer beatboxers. I just hope they take the time to research it and check out these amazing people who inspired me. There are these amazing guys and girls in Europe, where it's such a respected art form. There are like 18-year-olds who could school me in beatboxing."

What's your perspective on "American Idol" now that it's behind you?

" 'American Idol' was great. I was scared in the beginning because I had never seen it before, and I was afraid it would take my artistic integrity out of the mix. But it did the opposite. I was forced to do other people's music, but I didn't mind because I just made it my own, arranged it myself and I had a lot of fun with it. I didn't take it seriously because I'm not a competitive person. I'm down to create. It launched my career out into the universe. What I want to do now is create music that I'm passionate about."